View All Photos (10) Movie Info In the last and the best installment of his so-called "Dollars" trilogy of Sergio Leone-directed "spaghetti westerns," Clint Eastwood reprised the role of a taciturn, enigmatic loner. Here he searches for a cache of stolen gold against rivals the Bad (Lee Van Cleef), a ruthless bounty hunter, and the Ugly (Eli Wallach), a Mexican bandit. Though dubbed "the Good," Eastwood's character is not much better than his opponents -- he is just smarter and shoots faster. The film's title reveals its ironic attitude toward the canonized heroes of the classical western. "The real West was the world of violence, fear, and brutal instincts," claimed Leone. "In pursuit of profit there is no such thing as good and evil, generosity or deviousness; everything depends on chance, and not the best wins but the luckiest." Immensely entertaining and beautifully shot in Techniscope by Tonino Delli Colli, the movie is a virtually definitive "spaghetti western," rivaled only by Leone's own Once Upon a Time in the West (1968).

The main musical theme by Ennio Morricone hit #1 on the British pop charts. Originally released in Italy at 177 minutes, the movie was later cut for its international release. ~ Yuri German, Rovi Rating: The Good, the Bad and the Ugly (1966) - News 17 January 2017 8:34 AM, PST NEWS Connect with IMDb News for 24 June 2014 10:07 PM, PDT | Variety - Film News | See recent Variety - Film News news » Tony- and Emmy-winning actor Eli Wallach , a major proponent of “the Method” style of acting best known for his starring role in Elia Kazan ’s film “ Baby Doll ” and for his role as villain Tuco in iconic spaghetti Western “ The Good, the Bad and the Ugly ,” died on Tuesday, according to the New York Times. He was 98.

On the bigscreen Wallach had few turns as a leading man, but none was as strong as his first starring role in 1956’s “ Baby Doll ,” in which he played a leering cotton gin owner intent on seducing the virgin bride ( Carroll Baker ) of his business rival ( Karl Malden ). But he appeared in more than 80 films, offering colorful turns in character roles in movies such as “ The Magnificent Seven ,” “The Good, the Bad and the Ugly,” “ Nuts ,” “ Lord Jim ,” “ The Misfits ” and “ The Two Jakes .” The actor, who appeared in a wide variety of stage, » - Carmel Dagan 24 June 2014 9:42 PM, PDT | The Hollywood Reporter - Movie News | See recent The Hollywood Reporter - Movie News news » Eli Wallach , the enduring and artful character actor who starred as weaselly Mexican hombres in the 1960s film classics The Magnificent Seven and The Good, The Bad and the Ugly , has died. He was 98.

Wallach, who won a Tony Award in 1951 for playing Alvaro in Tennessee Williams ’ original production of The Rose Tattoo , made his movie debut as a cotton-gin owner trying to seduce a virgin in Elia Kazan ’s Baby Doll (1956) and worked steadily well into his nineties, died Tuesday, his daughter Katherine told The New York Times.

No other details of his death were read more Eli Wallach - Biography - IMDb Eli Wallach Biography Showing all 77 items Jump to: Overview (4) | Mini Bio (1) | Spouse (1) | Trade Mark (1) | Trivia (31) | Personal Quotes (36) | Salary (3) Overview (4) 5' 7" (1.7 m) Mini Bio (1) One of Hollywood's finest character / "Method" actors, Eli Wallach was in demand for over 60 years (first film/TV role was 1949) on stage and screen, and has worked alongside the world's biggest stars, including Clark Gable , Clint Eastwood , Steve McQueen , Marilyn Monroe , Yul Brynner , Peter O'Toole , and Al Pacino , to name but a few. Wallach was born on 7 December 1915 in Brooklyn, NY, to Jewish parents who emigrated from Poland, and was one of the few Jewish kids in his mostly Italian neighborhood. His parents, Bertha (Schorr) and Abraham Wallach, owned a candy store, Bertha's Candy Store.

He went on to graduate with a B.A. from the University of Texas in Austin, but gained his dramatic training with the Actors Studio and the Neighborhood Playhouse. He made his debut on Broadway in 1945, and won a Tony Award in 1951 for portraying Alvaro Mangiacavallo in the Tennessee Williams play "The Rose Tattoo". Wallach made a strong screen debut in 1956 in the film version of the Tennessee Williams play Baby Doll (1956), shined as "Dancer", the nattily dressed hitman, in director Don Siegel 's film-noir classic The Lineup (1958), and co-starred in the heist film Seven Thieves (1960). Director John Sturges then cast Wallach as vicious Mexican bandit Calvera in The Magnificent Seven (1960), the western adaptation of the Akira Kurosawa epic Seven Samurai (1954). By all reports, Wallach could not ride a horse prior to making "TMS", but expert tutelage from the film's Mexican stunt riders made it look easy!

He next appeared in the superb The Misfits (1961), in the star-spangled western opus How the West Was Won (1962), the underrated WW2 film The Victors (1963), as a kidnapper in The Moon-Spinners (1964), in the sea epic Lord Jim (1965) and in the romantic comedy How to Steal a Million (1966). Looking for a third lead actor in the final episode of the "Dollars Trilogy", Italian director Sergio Leone cast the versatile Wallach as the lying, two-faced, money-hungry (but somehow lovable) bandit "Tuco" in the spectacular The Good, the Bad and the Ugly (1966) (aka "The Good, The Bad and The Ugly"), arguably his most memorable performance.

Wallach kept busy throughout the remainder of the '60s and into the '70s with good roles in Mackenna's Gold (1969), Cinderella Liberty (1973), Crazy Joe (1974), The Deep (1977) and as Steve McQueen 's bail buddy in The Hunter (1980). The 1980s was an interesting period for Wallach, as he was regularly cast as an aging doctor, a Mafia figure or an over-the-hill hitman, such as in The Executioner's Song (1982), Our Family Honor (1985), Tough Guys (1986), Nuts (1987), The Two Jakes (1990) and as the candy-addicted "Don Altabello" in The Godfather: Part III (1990). At 75+ years of age, Wallach's quality of work was still first class and into the 1990s and beyond, he has remained in demand.

He lent fine support to Bride of Violence (1990), Teamster Boss: The Jackie Presser Story (1992), Naked City: Justice with a Bullet (1998) and Keeping the Faith (2000). Most recently Wallach showed up as a fast-talking liquor store owner in Mystic River (2003) and in the comedic drama King of the Corner (2004). In early 2005, Eli Wallach released his much anticipated autobiography, "The Good, The Bad And Me: In My Anecdotage", an enjoyable reading from one of the screen's most inventive and enduring actors. Eli Wallach was very much a family man who remained married to his wife Anne Jackson for 66 years. When Wallach died at 98, in 2014, in Manhattan, NY, he was survived by his wife, three children, five grandchildren and several great-grandchildren.

- IMDb Mini Biography By: firehouse44@hotmail.com Spouse (1) ( 5 March 1948 - 24 June 2014) (his death) (3 children) Trade Mark (1) Trivia (31) Received his Bachelor's degree from the University of Texas at Austin in 1936. Was almost killed during the train scene in The Good, the Bad and the Ugly (1966). He was asked by Sergio Leone to do the scene again, and he then replied: "I'll never do that again!". Turned down the role in From Here to Eternity (1953) that won Frank Sinatra an Oscar. Is one of three actors to play the character of Mr. Freeze on Batman (1966) (The other two were George Sanders and Otto Preminger ). He once said that he has received more fan mail for that role than for any other role he has ever done. Father, with Anne Jackson , of son Peter Wallach , and daughters Katherine Wallach and Roberta Wallach . Was named as "King of Brooklyn" at the Welcome Back to Brooklyn Festival in 1998.

His wife Anne Jackson was named "Queen of Brooklyn" at the same festival. Had appeared with Steve McQueen in both McQueen's first major successful film ( The Magnificent Seven (1960)) and in his last film ( The Hunter (1980). One of his best known roles was the lead bandit Calvera in The Magnificent Seven (1960). Although his character was eventually defeated in the film, Wallach outlived six of the other seven stars, as Robert Vaughn is the only one who is still alive as of 2014, in spite the fact that he was older than all of them. He, his wife Anne Jackson and their daughter, Roberta Wallach , all made guest appearances in different episodes of Law & Order (1990). Had appeared with Marilyn Monroe , Clark Gable and Steve McQueen in their final completed films: The Misfits (1961) (for both Monroe and Gable) and The Hunter (1980) respectively. He had a brother and two sisters, all of whom became teachers. He served for five years in the Army's Medical Administrative Corps during World War II, eventually attaining the rank of captain.

He had five grandchildren. There was no official theater department at the University of Texas when he attended, so he joined a student organization called The Curtain Club to put on plays. One of the other students involved was future Governor of Texas John Connally . In his later years, he was blind in the left eye due to a stroke. While attending the University of Texas, he acted in many student plays. In one, he performed with fellow students Ann Sheridan and Walter Cronkite . He had two hip replacements and had arthritis in his back. One of his fellow students at Parsons New School for Social Research in New York was Marlon Brando . Turned down the lead role of Harry Berlin in Luv (1967) that was eventually played by Jack Lemmon . In an interview on "Fresh Air" (at station WHYY in Philadephia, Pennsylvania, broadcast nationally on National Public Radio), he explained to Terry Gross that he learned to ride horses at the University of Texas: He took care of the polo ponies. During the filming of the The Magnificent Seven (1960), each morning he would ride a few hours with his gang.

He was friends with Walter Cronkite for over 70 years since they were both students at the University of Texas at Austin. Wallach was acknowledged at the Walter Cronkite memorial tribute at Lincoln Center and was in the audience. Was the reader of the audio-book of Stephen King 's novel "Insomnia". He died from natural causes at his home in Manhattan, New York City. He grew up in the only Jewish family in an otherwise all-Italian neighborhood, and gained fame from starring in an Italian Western. Appropriately enough, the name "Wallach" derives from the same Old German root word for which the Polish name for Italy, Wlochy, comes from. After failing the New York teachers' exam, Wallach got a scholarship to the Neighborhood Playhouse and spent two years there before graduating in 1940. Among his classmates were Gregory Peck, Lorne Greene, and Tony Randall. Wallach played Sakini for a year in the London cast of "Teahouse of the August Moon." Among the aspiring young actors from the Royal Academy of Dramatic Arts who worked backstage with scenery were Alan Bates, Peter O'Toole, and Albert Finney.

Wallach later succeeded David Wayne in the part in the Broadway production. Served five years in the Army Medical Corps during World War II eventually reaching the rank of major. Made his Broadway debut in the service-oriented drama "Skydrift" directed by Roy Hargrave, who had coincidently directed Anne Jackson, Wallach's future wife, in her Broadway debut in "Signature" a few months earlier. "Time" magazine once referred to Eli Wallach and wife Anne Jackson as "the proletarian Lunts.". Although he is best known for playing Mexican characters in westerns, Wallach was actually a Polish Jew in real life and had no Hispanic ancestry. Personal Quotes (36) The subtitle [of his memoir "The Good, the Bad and Me"] is "In My Anecdotage". Bill Clinton asked me if he could use it, and I said, "You sold two million copies of your book. How dare you try to steal my subtitle!". I was at the premiere of The Holiday (2006), a movie I did with Kate Winslet . Surrounded by all these beautiful young women.

And after they left, [wife Anne Jackson ] comes up and says to me, "Honestly, I don't know what they see in you.". Well, I go to the theater today, and its curtain - there is no curtain in this play; the lights go down and go up - and we start. And I live this character for two hours. There are only two of us in the play. And It's a complete experience. I never lost my appetite for acting. Having the critics praise you is like having the hangman say you've got a pretty neck. I've learned that life is very tricky business: Each person needs to find what they want to do in life and not be dissuaded when people question them. But Clint [Eastwood] I love, because Clint was my mentor. I knew nothing about making an Italian movie. When you have to shoot, shoot, don't talk. When I saw the movie, I said, "I wish I had heard the music. I would have ridden the horse differently.". I've never lost my appetite for acting; it's innovative and challenging. And that movie was underrated - Nuts (1987) - because it deals with a terrible subject, but It's very well done.

And I did Batman (1966), too. I did Mr. Freeze. I get more mail for him than anything I've ever done. Even if I don't want to slow down, I'm slowing down. But I went to the University of Texas in the 30s, and while there I learned to ride. Mostly polo ponies. And then the first was The Misfits (1961), which I enjoyed very much, with Marilyn and Gable. Everyone thinks acting is easy. It's far from easy, but it's the most gratifying thing I do. I love to tell stories and this is my way of getting them down on paper. I always end up being the evil one, and I wouldn't hurt a fly. I never dreamed I would do Westerns. I was an original member of the Actors' Studio. I always wanted to tell stories and act. The big secret in acting is listening to people. I've worked with wonderful actors like Marlon Brando and Henry Fonda . One thing changes every evening: It's the audience, and I'm working my magic. I'm always learning from it.

The trouble with that movie is that you had to see Chinatown (1974) the day before you saw The Two Jakes (1990). What is it in my makeup that makes me grab any offer and fly around the world? Will I ever be satisfied? Can't I ever just rest? I met my wife and, for the next ten years, we did no films at all. She did the first movie and then I did several after. My first movie was written by Tennessee Williams and directed by [Elia] Kazan and was called Baby Doll (1956). This country has a complex about age. It's unbelievable. If you're over thirty, you've had it in this country. Well, I've maybe gotten 200 requests for interviews about Marilyn, and I just decided I'm gonna do my own. Yes, I won the BAFTA. I thought the British were very intelligent. Well, I was getting a lot of money then, and I wasn't getting any Hollywood films, so I just did those. I'd always do a play in between. Whenever I ran low on funds, I'd always rush off to do a movie somewhere.

My wife says that stage acting is like being on a tightrope with no net, and being in the movies, there is a net - because you stop and go over it again. It's very technical and mechanical. On stage you're on your own. So I wanted to show what I did with the money. So I got red silk shirts, beautiful hats, wonderful saddles, a great horse, and two gold teeth. So that was the way I did it. I'd come out of the Army after five years as a medic. I was a medical administrator and we ran hospitals, and I was a Captain in the Army at the end, in 1945. John Huston was a superb master. He knew how to make good films. I did three things with him. One is called Independence (1976). It plays in Philadelphia, for free. It's been playing there for 25 years. [on directing in 1983] I simply don't have the temperament or the patience. I once tried to direct a play, and everyone emerged like me. A good director is like a nursemaid, a guide, a psychologist, a friend, one who leaves you room to stretch and grow.

I don't have the patience for that, so I don't try. Dustin did it in a movie and directed a play of Murray's -- and did it very well. I find that I simply want to be an actor... not a businessman, not an entrepreneur, not a conglomerate... just an actor. Salary (3) Eli Wallach, star of The Good, the Bad and the Ugly, dies aged 98 | Film | The Guardian Eli Wallach Eli Wallach, star of The Good, the Bad and the Ugly, dies aged 98 Early practitioner of method acting who played the bandit Tuco in the spaghetti western and was awarded honorary Oscar in 2010 has died Wednesday 25 June 2014 02.12 EDT First published on Wednesday 25 June 2014 02.12 EDT Close This article is 2 years old Eli Wallach , the award-winning American actor who helped bring the method to the movies, has died at the age of 98. His death on Tuesday was confirmed to the New York Times by his daughter, Katherine.

In a career spanning six decades, he remains best known for his roles in The Magnificent Seven and The Good, the Bad and the Ugly. Born in Brooklyn, the son of Polish immigrants who ran the local sweet shop, Wallach served in the second world war and learned his craft at the Actors' Studio, studying alongside Marlon Brando and Montgomery Clift. He worked on Broadway in the post-war years and made his film debut with a Bafta-winning turn as a scheming cotton gin owner in Elia Kazan's controversial 1958 drama Baby Doll. By rights, however, Wallach's arrival should have come sooner. He was the original choice to play the role of Angelo Maggio in the 1953 drama From Here to Eternity, only to bow out at the eleventh hour in favour of Frank Sinatra. Hollywood legend has it that Sinatra used his Mafia connections to secure the role, which would go on to win him the best supporting actor Oscar. Wallach, for his part, always denied this. Wallach's went on to act with Marilyn Monroe in The Misfits and Audrey Hepburn in How to Steal a Million.

He played a Mexican bandit in The Magnificent Seven and the vicious Tuco in the classic Sergio Leone spaghetti-western The Good, The Bad and the Ugly, alongside Clint Eastwood and Lee Van Cleef. Wallach only realised that he had been cast as the "ugly" when he sat down to watch the finished picture. Wallach continued to find meaty movie roles, almost through to the end of his life. In later years he could be found in the likes of The Godfather 3, Mystic River and The Ghost Writer. In what would prove to be his final screen role, he cropped up as a venerable financier, accurately predicting economic meltdown in Oliver Stone's 2010 drama Wall Street: Money Never Sleeps . More on Eli Wallach Peter Bradshaw: An ability to project villainy or cynicism or worldly power, often while mounted on a horse, was Eli Wallach's calling card in the movies.

But he also had a kind of stern, cerebral handsomeness Published: 25 Jun 2014 Guide to the Good, the Bad, and the Ugly Film Editors: Nino Baragli, Eugenio Alabiso Produced by Alberto Grimaldi, Carlo Bartloini (assistant), Federico Tofi (assistant) for United Artists/ PEA Plot Summary The plot summary for The Good, the Bad, and the Ugly is fairly simple. It's a basic western story of greed and what people are willing to do to get money. Three men know where some gold is hidden. Tuco knows what cemetery it's in, Blondie knows which grave, and Angel Eyes knows about it. Due to greed, Tuco and Blondie stick together, until Angel Eyes captures them. They escape from Angel Eyes in a classic gunbattle, and after some other setbacks, end up in the graveyard. Tuco thought he knew which grave the treasure was hidden in, but Blondie had lied to him when he asked where it was. So Tuco dashes off to the graveyard, Blondie close behind. Then Angel Eyes shows up and makes the other two dig in the wrong grave.

Blondie manages to get the upper hand, and kills Angel Eyes (who had caught up to them). They get the gold, but Blondie again gets the upper hand and leaves Tuco with his share of the gold, but no means to carry it out of the graveyard. Reviews Renata Adler, a New York Times film critic, did not think very highly of the film. In January of 1968 (two years after the film was made) it finally came to New York. She believed the film's title should have been "The Burn, the Gouge, and the Mangle", because all of the characters were repulsive to her. For some reason, she also insisted on calling Clint Eastwood's character "Joe" even though he is given the name "Blondie" by Tuco. Unfortunately, she completely misunderstood the film. Perhaps she was expecting something clean and neat, like the typical Hollywood westerns at that time. The reader certainly gets the feeling that she had never seen the other two films, A Fistful of Dollars and A Few Dollars More. She would not have liked them, perhaps, but it would have been no surprise that the film was going to be violent.

All she comments on is the violence of the film and the ugliness of the people. She failed to see that the director was making a point with the violence, that he was saying that life is violent. "There is scarcely a moment's respite from the pain" she says in aggravation, not thinking about the environment of the film, or the fact that there is a war going on in the background. She also comments on one of Leone's trademarks in his films: food. People always eat well in his films. Adler naturally takes a negative view: "...the movie takes place in arid country, there are an awful lot of salads and vegetables". Maybe this is a good point, but did that really matter to the rest of the film? Of the acting and technical aspects, she has very little to say. Adler does not mention Clint Eastwood at all, and was not impressed with Eli Wallach or Lee Van Cleef. She claimed that Van Cleef's acting consisted of "displaying the stubble of his beard and narrowing his eyes," which is ironic, because Eastwood is famous for that now.

Wallach's acting, as she saw it, was done through "hideous gastro-intestinal noises to convey shades of emotion." Personally I saw a bit more character than that. Especially when he talks to his brother, the priest. He managed to convince me that there was something underneath all the obnoxious attitude. This film seems to be better enjoyed by modern viewers, because we have less sensitivity to the violence (and maybe even see it as a tame film by our standards). Renata Adler obviously did not enjoy the film simply because of its allusions to the way humans really are. Background for the Film There is a small amount of interesting trivia for this film. The original title was to be "The Magnificent Rogues," no reason has been given, however, for why the title was changed. The budget was considerably larger for this film: 1.2 million. For A Fistful of Dollars, the budget was the same as the amount of treasure in The Good, the Bad, and the Ugly. It is almost as if Leone was hoping to make at least that much money back for the film. Charles Bronson was originally supposed to play Tuco, but he was already committed to The Dirty Dozen.

When Bronson was cast in one of Leone's later pictures, Leone wanted him to shoot Wallach, Eastwood, and Van Cleef in the opening scene, just for fun. Eastwood refused, apparently not seeing the humor in the idea. Eastwood came up with the nickname for Sentenza on the set. Since everyone else liked it, it stayed in the picture. He also did all of his own stunts, with a few exceptions. Eastwood likes to do everything because it makes his characters more realistic for the viewers, he believes. He had brought his own stuntman with him to do some of the horse riding scenes for this film. In this particular film, twelve people are killed by Eastwood directly. This is a small number compared to his Dirty Harry films. In most of Eastwood's films someone dies, usually by him directly. At the beginning of Eastwood's film "the Unforgiven" he dedicates it to Leone- perhaps this is the same character near the end of his life? There is only one real obvious mistake made in the film, but it is a rather large anachronism--cartridges were not used in revolvers.

Tuco uses a gun that did not exist in the time that the movie takes place in. Fortunately for the film, not too many people know this as it is a very technical point, so the movie is not ruined because of it. Critical Analysis The Good, the Bad, and the Ugly is actually a really awful film. The plot is slow and ponderous, the Italian actors are not very good (the dubbed voices are especially bad), and there is a lot of senseless violence. But this is why everyone loves this film. It has become a "cult classic," the kind of film where everyone sings along with the awful music and mimics the lines. The film's music score is weird, to say the least. The howling sound that is either a coyote howl or someone getting their fingers smashed in a door has become the cliché for a western gunbattle. Recently I saw it used in a commercial for motor oil. If someone had listened to the score without having seen the movie, they probably would not like it. I remember laughing at it when I first saw the film.

Ennio Morricone's music manages to grow on the viewer, however, because by the time the film is over you cannot get it out of your head. Clint Eastwood's character, "Blondie" as Tuco calls him, is the first of many "man with no name" types that he has played in his series of spaghetti western style films. He is labeled "The Good" in the film, but the best his character could have been called is "The Better Than the Other Two." He is still a criminal, he still shoots people, but he is not shown shooting innocents or robbing anyone. He is greedy, but in a nice way- he still leaves Tuco with his share at the end. He even plays with a kitten before one of the major gunbattles. For some reason the viewer wants to see Blondie win over the other two, perhaps because he seems more intelligent. Lee Van Cleef, or "Angel Eyes" is called "The Bad," and that is just what he is. He is a hired killer ("Once I'm paid, I always see the job through") and an all around mean guy.

He really does not have anything to do with the plot, other than someone to get in the way of Blondie's quest for more money. This actor also made a living off of playing essentially the same character after this film. Eli Wallach, "Tuco" gets the epithet "The Ugly." His is the most appropriate title. He is ugly in personality as well as visually. Ironically he is shown taking a bath and shaving in this film, but he never looks clean. He is the humor in the film, since he is the most obnoxious character. In this film he is the weasel that also gets in the way of Blondie, constantly showing up when it is most inconvenient. If it were not for Tuco's revenge in the dessert, Blondie would never have learned about the gold in the first place. The close-ups in the film that are particularly memorable. They are so memorable that the close-up shot in any Western film after this one makes the viewer think of The Good, the Bad, and the Ugly. The profuse amount of close-ups on faces (especially eyes) to show what the character is thinking- we can get inside his head through their expressions.

The ten minutes of close-ups at the end of the film absolutely must be seen in Letterbox for the full effect, otherwise half of the picture gets lost. Sergio Leone creates huge amounts of tension in that scene, just by quick cutting to each characters faces, eyes, and suddenly pulling back to show all three characters. The music also helps with the tension, building up to the yelping singers at the end when Tuco was swearing at Blondie. The Civil War is the backdrop of the film, getting in the way on occasion. Blondie makes several sage-like comments on the senselessness of the war, and the waste of human life it brings. He helps the officer who wants to see a bridge blown up, but really it only happens because of the money on the other side. Leone shows his opinion on the war by making both sides look the same when they are in the dessert. Overall, this is a fun movie to watch. Personally I think the Spaghetti Westerns are better and more realistic than the goofy John Wayne films that were made at the same time. The costuming is better, the writing is better, and in some cases the acting is better.

It's more fun to watch Clint Eastwood be a "badass" rather than John Wayne being a jerk. Bibliography 1. Adler, Renata. "The Burn, the Gouge, and the Mangle" The New York Times, January 25, 1968. Contemporary film review #1. 2. Dunagan, Clyde Kelly. "Clint Eastwood" in Actors and Actresses, ed. James Vinson. Chicago: St. James Press, 1986, pp. 209-211. This was a useful source. It had not only a filmography, but also a basic biography and a commentary on their works. 3. Kaminsky, Stuart M. "Sergio Leone" in Directors and Filmmakers, ed. Christopher Lyon. Chicago: St. James Press, 1984, pp. 326-327. This was from the same series as the Eastwood article. 4. International Movie Database: The film database I used to get the basics for the movie. Probably the most useful of all of the sources so far.

The only problem with it was that every time I came back to it, someone would add something else to it. 5. Clint Eastwood Page: This source was a good Clint Eastwood site. I used the cast list from here, as it was shorter, and made more sense. 6. Sergio Leone Homepage: I was surprised to find an actual homepage for Leone. I did not think he was popular enough to warrant an entire homepage! I found the Van Cleef page through a link here. 7. Lee Van Cleef Homepage: Van Cleef's homepage was well done, and I found some of the trivia about the movie from here. Eli Wallach | Film | The Guardian The Guardian Eli Wallach Eli Wallach obituary Award-winning character actor with memorable roles in The Magnificent Seven and The Good, the Bad and the Ugly Eli Wallach in The Magnificent Seven, 1960.

Photograph: Everett Collection/Rex Wednesday 25 June 2014 07.36 EDT First published on Wednesday 25 June 2014 07.36 EDT Share on Messenger Close The characters played by the actor Eli Wallach , who has died aged 98, were seldom good but almost always bad and ugly. The mould was set with his second film, Don Siegel's The Lineup (1958), in which he played a nervous psychotic killer called Dancer. Most memorably, Wallach portrayed Calvera, the bearded, grinning, sadistic bandit chief with gold teeth who terrorises Mexican villagers in The Magnificent Seven (1960). This role led to his being cast as the heavy in several spaghetti westerns a few years later, notably Sergio Leone's The Good, the Bad and the Ugly (1966). "On films, my image is the villain," Wallach once declared. "Whereas on stage I play the little man from Rhinoceros, or the little good-hearted, sweet-natured boy Kilroy from Camino Real, or the good-natured truck driver from The Rose Tattoo.

So it's the opposite side of the coin." Wallach was born in Brooklyn, New York, one of four children of Abraham and Bertha Wallach, immigrants from Poland. Among the few Jewish children in the mostly Italian neighbourhood, Wallach started acting around the age of 15 in boys' club productions. A bright boy, he got a grant to study at the University of Texas, and then City College, New York, where he received a master's degree in education. He prepared for a career as a teacher but was soon studying acting under Sanford Meisner at the Neighborhood Playhouse School of the Theatre, where he met his future wife, Anne Jackson. After four years of second world war service, Wallach played opposite Jackson on stage in 1948 in Tennessee Williams's one-act two-hander This Property Is Condemned. Eli Wallach in The Lineup, 1958. Photograph: Everett Collection/Rex Williams provided Wallach with some of his best roles in the theatre, and wrote the screenplay for Baby Doll (1956), in which Wallach made his film debut, aged 40.

Wallach even turned down the part of Maggio in From Here to Eternity (1953), which won Frank Sinatra an Oscar, in order to do Williams's Camino Real on stage, directed by Elia Kazan . Conversely, in 1990, Wallach took over the role of Altobello, the close friend of the Corleones, in The Godfather Part III, when Sinatra could not fit it into his schedule. Both Kazan and Wallach were founder members of the Actors Studio in 1947, among whom were Marlon Brando , Rod Steiger and Karl Malden . "We were like converts to a new religion," Wallach recalled. "We didn't understand anyone else's acting except our own.

Everyone else was a pagan." Wallach played in Shaw and Shakespeare at the American Repertory theatre, and was Sakini, the Okinawan interpreter, in The Teahouse of the August Moon on Broadway in the mid-1950s, but it was only in his Tony-winning performance as Alvaro Mangiacavallo in Williams's The Rose Tattoo, on stage opposite Maureen Stapleton in 1951, that he was able to use the "method". With Kazan directing, and featuring Wallach, Malden and Carroll Baker, all from the Actors Studio, the film Baby Doll had "method" spread all over it. Wallach was splendidly sly, sensual and funny as Silva Vacarro, a moustachioed, vengeful Latin seducer of the virginal child bride married to a sexually frustrated cotton-mill owner. Back on stage, in 1958, Wallach appeared as the Old Man opposite Joan Plowright's Old Woman in Tony Richardson's production of Eugène Ionesco's The Chairs, in New York .

He also had a great success as Berenger in Ionesco's Rhinoceros (1961), with Zero Mostel. Eli Wallach and Marilyn Monroe in The Misfits, 1961. Photograph: Moviestore Collection/Rex In The Misfits (1961), the final film of two Hollywood legends, Clark Gable and Marilyn Monroe, Wallach played Guido, a former wartime pilot, one of three failed men who come together in the Nevada desert to catch wild mustangs to be slaughtered for dog food. Arthur Miller 's heavily symbolic screenplay gave Wallach such lines as: "I can't make a landing and I can't get up to God." He was also given the last, misogynistic speech against Monroe's character. "She's crazy! You struggle, you build, you try, you turn yourself inside out for them. But it's never enough. So they put the spurs to you. I know I've got the marks." Thirty years later, he was in a revival of Miller's The Price on Broadway.

While Wallach continued a long career on television – guest-starring in many series and appearing in 13 episodes of Our Family Honor (1985-86) as the patriarch of a crime family – he was seldom off the big screen in the 60s and 70s, mostly being asked to play madly grimacing villains such as the self-styled General who captures and tortures the hero ( Peter O'Toole ) in Lord Jim (1965) and the shifty Shah in Genghis Khan (1965), starring Omar Sharif. The apogee of these evil characters came in The Good, the Bad and the Ugly, in which he played a lecherous, obnoxious, brutal bandit, with a price on his head. With Clint Eastwood, whom Wallach calls "Blondie", he operates a racket whereby Clint captures him, gets a reward, then rescues him from the rope at the last moment. In the showdown of showdowns, Eastwood, Lee "Angel Eyes" Van Cleef and Wallach face each other with meaningful looks and lingering closeups, before the inevitable crossfire.

In contrast, in The Tiger Makes Out (1967), a fleshed-out version of Murray Schisgal's one-act play The Tiger, which Wallach and Jackson performed in New York and London, he was subtly amusing as a sexually repressed New York postman who kidnaps a socially repressed Long Island housewife (played in the film, too, by Jackson). Eli Wallach, right, with Josh Brolin in Wall Street: Money Never Sleeps, 2010. Photograph: Sportsphoto/Allstar It was then back to playing a bandit being tracked down by the hero (Terence Hill), in the spaghetti western Ace High (1968). Apart from portraying Napoleon in Jerzy Skolimowski's The Adventures of Gerard (1970), the quality of Wallach's roles and pictures began to decline. Therefore, it was a delight to see him taking himself off in Stanley Donen's two-part spoof Movie Movie (1978), first playing a crooked prizefight promoter in the boxing melodrama, and then a stage doorman, in the musical.

The critic Pauline Kael observed: "Wallach usually has irrelevant energy pouring out of him, and doesn't do anything plain any more … Somehow Donen has restored him to simplicity, and he's more likeable than he has been for years." Though he was forced to rely on his macho mannerisms in his later films, he occasionally managed to show a milder side in roles such as the rather sympathetic Jewish bailbondsman in Steve McQueen's final movie, The Hunter (1980). He also provided good support to ageing contemporaries Kirk Douglas and Burt Lancaster in Tough Guys (1986); was Barbra Streisand's psychiatrist in Nuts (1987); a wise rabbi in Keeping the Faith (2000); a screenwriter taken under Kate Winslet's wing in The Holiday (2006); and, in Wall Street: Money Never Sleeps (2010), a CEO given to ending sentences with bird noises and fluttering hand gestures.

In 2010, the Motion Picture Academy awarded Wallach an honorary Oscar, saluting him as "the quintessential chameleon, effortlessly inhabiting a wide range of characters, while putting his inimitable stamp on every role". He is survived by Jackson and their son, Peter, and two daughters, Roberta and Katherine. • Eli Herschel Wallach, actor, born 7 December 1915; died 24 June 2014 Peter Bradshaw: An ability to project villainy or cynicism or worldly power, often while mounted on a horse, was Eli Wallach's calling card in the movies. But he also had a kind of stern, cerebral handsomeness Published: 25 Jun 2014 Jeremy Hayes writes: The actor's New York accent was perfect for reading Joseph Mitchell's book McSorley's Wonderful Saloon Published: 4 Jul 2014 With a career stretching back to the method acting glory years of the 1950s, Eli Wallach, who has just died, played a key role in Hollywood over six decades.

We look back at his most memorable roles Published: 25 Jun 2014 Good, The Bad And The Ugly, The (1966) -- (Movie Clip) Standoff You will receive an email shortly to confirm your email address. Good, The Bad And The Ugly, The (1966) -- (Movie Clip) Standoff title details and video sharing options now playing Good, The Bad And The Ugly, The (1966) -- (Movie Clip) Standoff Eli Wallach, Lee Van Cleef and Clint Eastwood compete with Ennio Morricone's score and Nino Baragli's editing in this segment of Sergio Leone's famous standoff sequence from The Good, the Bad and the Ugly, 1967. Good, The Bad And The Ugly, The (1966) -- (Movie... Eli Wallach, Lee Van Cleef and Clint Eastwood compete with... Good, The Bad And The Ugly, The (1966)...

Good, The Bad And The Ugly, The (1966) -- (Movie Clip) Standoff Eli Wallach, Lee Van Cleef and Clint Eastwood compete with Ennio Morricone's score and Nino Baragli's editing in this segment of Sergio Leone's famous standoff sequence from The Good, the Bad and the Ugly, 1967.> Dave Karger Intro -- The Good, The Bad And The... Guest host Dave Karger introduces The Good, The Bad And The... Dave Karger Intro -- The Good, The Bad... Dave Karger Intro -- The Good, The Bad And The Ugly (1968) Guest host Dave Karger introduces The Good, The Bad And The Ugly, 1968. > Good, The Bad And The Ugly, The (1966) -- (Movie... The introduction of Clint Eastwood, this time kind-of named... Good, The Bad And The Ugly, The (1966)... Good, The Bad And The Ugly, The (1966) -- (Movie Clip) How Much Are You Worth Now?

The introduction of Clint Eastwood, kind-of named Blondie, in the final film in the Man With No Name trilogy, with some indifference rescuing bandit Tuco (Eli Wallach), Sergio Leone not yet revealing the scam to collect reward money, in The Good, The Bad And The Ugly, 1966. > Tiffany Vazquez Intro -- The Good, The Bad And The... TCM's Saturday afternoon host Tiffany Vazquez introduces The... Tiffany Vazquez Intro -- The Good, The Bad And The Ugly (1966) TCM's Saturday afternoon host Tiffany Vazquez introduces The Good, The Bad And The Ugly, 1966. > Good, The Bad And The Ugly, The (1966) -- (Movie... Setenza (Lee Van Cleef) sees what's coming as Joe (Clint... Good, The Bad And The Ugly, The (1966)...

Good, The Bad And The Ugly, The (1966) -- (Movie Clip) You Can Have The Rope Setenza (Lee Van Cleef) sees what's coming as Joe (Clint Eastwood) rescues Tuco (Eli Wallach) from hanging once again, building up toward the three-way confrontation in the desert, the climax in the third film in Sergio Leone's trilogy, The Good, the Bad and the Ugly, 1966.> Good, The Bad And The Ugly, The (1966) -- (Movie... Posing as a Union officer, Setanza (Lee Van Cleef) has a... Good, The Bad And The Ugly, The (1966)...

Good, The Bad And The Ugly, The (1966) -- (Movie Clip) You've Changed Partners Posing as a Union officer, Setanza (Lee Van Cleef) has a thug beat some information out of Tuco (Eli Wallach), which he then uses to propose a new deal with "Joe" (Clint Eastwood) in Sergio Leone's international "Spaghetti Western" hit The Good, the Bad and the Ugly, 1967.> Good, The Bad And The Ugly, The (1966) -- (Movie... Hired killer Setenza (Lee Van Cleef) tightens the screws on... Good, The Bad And The Ugly, The (1966)...

Good, The Bad And The Ugly, The (1966) -- (Movie Clip) That's Why They Pay Me Hired killer Setenza (Lee Van Cleef) tightens the screws on farmer Stevens (Antonio Casas) and won't be bought off in this early scene from Sergio Leone's The Good, the Bad and the Ugly, 1966.> Good, The Bad And The Ugly, The (1966) -- (Movie... Ennio Morricone's famous score tends to dominate the opening... Good, The Bad And The Ugly, The (1966)...

Good, The Bad And The Ugly, The (1966) -- (Movie Clip) Opening Credits Ennio Morricone's famous score tends to dominate the opening credit sequence for the final film in Sergio Leone's famed "Man With No Name" trilogy, The Good, the Bad and the Ugly, 1967, with Clint Eastwood, Lee Van Cleef and Eli Wallach.> Amazon.com: The Good, The Bad, and the Ugly: Eli Wallach, Clint Eastwood, Lee Van Cleef, Aldo Giuffr?: Amazon Digital Services LLC By Sony XL on July 4, 2015 Format: Amazon Video Verified Purchase The Good, the Bad and the Ugly or the Good, the Better and the Best, as I prefer calling it, is a bizarrely sublime and a uniquely aesthetic masterpiece. The actors in title roles have given such extraordinarily superb performances, that it would be impertinent and disparaging to merely regard their swell work as acting. In fact their brilliant portrayals have immortalized Blondie, Sentenza/ Angel Eyes and the enigmatic Tuco. Lee Van Cleef is fiendishly unforgiving as the merciless Angel Eyes.

Clint Eastwood is rugged yet suave, cocky yet adorable as laconic cigar-smoker Blondie, a role that laid the foundations of his illustrious career. But it is Eli Wallach, who steals the show with his captivating portrayal of Tuco, a portrayal that is as entrancing as it is enlightening. Wallach is amusing, capricious, nonchalant, uncanny and yet tenacious as Tuco, perturbed by his insecurities and dampened by his solitude. It is the tacit amicability between Blondie and Tuco and their mutual hostility towards the evil Angel Eyes owing to the vestiges of virtue present in them, redolent of their moribund morality, which gives the story, the impetus and the characters, a screen presence that is not only awe inspiring but also unparalleled. Sergio Leone's magnificent and ingenious direction in synergy with Ennio Morricone's surreal music, Tonino Delli Colli's breathtaking cinematography and Joe D'Augustine's punctilious editing makes the movie, a treat to watch and ineffably unforgettable.

Initially aimed to be a tongue-in-cheek satire on run-of-the-mill westerns, The Good, the Bad and the Ugly, continues to stand the test of time in its endeavor to attain apotheosis (if it hasn't attained it yet). It will always be remembered as European cinema's greatest lagniappe, not only to the Western genre, but to the world of cinema.

Question: Did 'Eli Wallach' play the 'Good'; the 'Bad; or 'the 'Ugly' in the 1966 film?
Answer: The Ugly